The History of Science Fiction.

This is the finest rabbit hole I have come across recently.

The History of Science Fiction.

I keep staring at it. Brilliant.

Special thanks to Alex Fradera for pointing it out.

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Storifying The Story (2011).

I used Storify to write up my notes from The Story.

It was a bit of a slog, but quite a rewarding process. Some BETA-ness in Storify resulted in the occasional William Burroughs passage, and rewrites. Anyway, there you are. It’s a bit long.

Kathryn Corrick did a much nicer document of the day.

Buildings Without Life.

I’d like to blog a little bit about buildings. Partially because of the RIBA Stirling Prize (winner) yesterday, but mostly because they’re everywhere. Really, you can’t walk down the street without seeing at least one.

Living in Sheffield, I’m cursed and blessed by the buildings around me. We have the superb Park Hill flats, a monument to idealised Modernist planning, an actual realisation of Le Corbusier’s “cities in the sky”. It stands proud, overlooking the train station and staring out to the city centre. view from the tallest building in the smallest town

Monuments.

Reading this morning the Imperica interview with Marcus (1, 2), I envied his scorched earth approach to digital legacies. I’m too much of a hoarder. I have magazines, mini-discs, university essays, scraps of newspapers, postcards and packaging from relevance past. There’s no need for it, and there’s barely any value either. I’m much the same with online content too.

There are more words below

My Life As A Chopper

“Would you be an object for a week?”
“Yeah, sure.”

That’s how it starts. A flippant enough request, an equally flippant answer, but quite complex in reality. The brief was fairly wide — be irreverent and avoid any particularly brutal single entendres.

As part of My Life As An Object, I was asked by Rattle to voice an object on twitter. The rationale for the project is better explained on Frankie’s blog, but the core aim is to take static exhibits, bring them and their history to life — to make them part of living culture again. This partially meant to make the objects ‘real’ again, to recontextualise them and engage people in a way that you can’t just by looking at them. Most people are used to talking to objects, but not many really expect an object to talk back to them.

Change gears, boss